The American Architect 1912-07-03: Vol 102 Iss 1906

Boffale Public Libra

AMERICAN
ARCHITECT

PUBLISHED |
EVERY WEDNESDAY
IN NEW YORK

THIS ISSUE CONTAINS

CONTINUATION OF THE SERIES ON STAINED
AND PAINTED GLASS ~ THE CURRENT ARCHI-
TECTURAL PRESS @# EDITORIAL COMMENT,
CURRENT, INDUSTRIAL AND BUILDING NEWS
+ILLUSTRATION OF A THEATRE AT DETROIT,
MICHIGAN, ETC.; ETC. + + + + + +>

JULY 3, 1912 NUMBER 1906

ARCHITECT Vol: CII, No. 1906

Thousands. of Buildings
are Daylighted with

*Luxfer Prism Transoms

Stores, Banks. Offices. and all other kinds of
buildings obtain more daylight than ordinary con-
ditions permit, by the use of Lwuxfer Prism
Transoms. ,

In the majority of cases the architects speci~
fied Luxfer Transoms in their plans because, i in
addition to realizing the benefits of maximum

: daylight, they realized that Luxfer Transoms
Ber av ape nted the only practical way to get it.
e

y anticipated the need instead of waiting un-

til the need made itself felt.

Luxfer Prism Transoms are installed in the
upper section of store fronts, and in the upper sash
of smaller windows, where they draw the light
rays from the sky and direct them into the in-
terior. The maximum results are possible only
when the angles on the prisms are scientifically

.
.

correct, which is always the case with Luxfer
installations.

Imitations of Luxfer Prism Transoms can im-
itate only the appearence. The Luxfer principle
cannot be imitated. We are sure this i is an im-
portant point for architects to memorize.

As the pioneers of the daylighting business,
and as the only company applying scientific
methods to every installation, we are in the posi-
tion to co-operate with architects upon any prob-
lem of furnishing daylight. Any matter taken up
with any of our branch offices, or direct, will be
given the most careful attention. Write for a

copy of our book DAYLIGHTING. and a copy

of the new Luxfer catalog.

AmericAN Juxfer Prism company

—OFFICES:

- MILWAUKEE

CHICAGO - - Heyworth Building
BOST ' NEW YORK

STON ~- - ~- 49 Federal Street
CLEVELAND 419-20 Citizens’ Street
pULUTH - 16W. PITTSBURGH
IANAPOHIS - 7 E. _ (PHILADELPHIA
RAMBAROITY 948 N, Y. ile Bealdnne

- = = §troh Building
- = 507 W. Broadway
NEW ORLEANS - 904 Hennen Building DALLAS - - - Builders’ Exchange
1222 Fulton Building

ROCHESTER -

ST.PAUL - - 615 Ryan Building
MINNEAPOLIS 507 Andrus Building

SAN FRANCISCO 445-47 Turk Street

411 Walnut Street LOS ANGELES 1701 N: Main Street

- 38 Exchange Street

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THE AMERICAN ARCHITECT

Vou. CII.

WEDNESDAY, JULY 3, 1912

No. 1906

THE EFFECTS OF THE RENAISSANCE ON
STAINED GLASS AND THE BREAK

REVIVAL OF CRAFT AND DESIGN

HEN the prevailing thought which
W had thrown discredit on all Gothic
art was itself in its decline, the
reaction which set in with Romanticism in

the second quarter of the nineteenth cen-
tury caused the great polychromatic art

of the North to re-
vive. It excited
much attention
and was valued
and encouraged.

It is now cus-
tomary to decry
the early attempts
then made. That
they are crude and
little able to stand
critical examina-
tion is certain, but
after so great a
decline it is as-
tonishing to see
anything at all.
For though the art
lingered long, it
was quite on a
false basis and it
was._ technically
dead.

The nineteenth
century glass
painters had in the
revival to take
count of the pre-
vailing ideas, as
much as had their
sixteenth century
forerunners at the

UP OF THE ART. PART VII

By CLEMENT HEATON

“THE CORPOREAL WORKS OF MERCY”
ALL SAINTS’ CHURCH, YORK
FROM DRAWING IN.SOUTH KENSINGTON MUSEUM

Copyright, 1912, by The American Architect

advent of Italianism. Both were but the
executants of a general collective ideal,
and those of the nineteenth century were
necessarily very ignorant of their craft.
Even today no extensive application can
be made of ideas for which society is not
prepared, all of us being governed by the

prevailing collec-
tive ideal

During the last
thirty years inter-
est has been awak-
ening in the value
of design in orna-
ment, and in that
of decorative beau-
ty. Such apprecia-
tion did not form-
erly exist, but now
it does. It acts with
increasing force on
stained glass as on
everything __ else,
tending to make
it again a living
art capable of ex-
pressing a new
range of thought.

a he vied
sense of esthetic
beauty in color, in
texture and in re
resentation of the
human figure
make it certain
that a new phase
of the art will ap-
pear, for new sym-
pathies lead in-

THE AMERICAN ARCHITECT

2 emp ot a

“THE “BEDE” WINDOW, ALL SAINTS’ CHURCH,
NORTH STREET, YORK
ENGLISH XV CENTURY, POOR DESIGN, GOOD TREATMENT

evitably to new and higher manifestations
“in the art of stained and painted glass.

OUR OWN TIMES

_ The architect Lassus of Paris, though an
enthusiastic exponent of ancient monuments,
energetically disclaimed mere reproduction
- “of medizeval art. He said: ““We on never
admitted and never shall admit any kind of
servile copy, either of Gothic or classic work.

The artist ceases to merit the name the mo- ~
ment he consents to make only servile re-

productions. What we ask fér is that lie
shall learn to express his thoughts while re-

erg Somer to the principles of Gothic:

art.” This is what has to be accomplished,
- but which the nineteenth century was ill
‘able to do.

Sheer copies of old work, copies ad nause-
um of Gothic prints and drawings by Albrecht
Durer and others, nondescript make-believes
of Gothic and Renaissance on the one hand;
ill-advised attempts to start new forms of
the art on the other; all this has been done

2

- various causeaceases to continue.

and must be left behind. Reason and good
sense in craftsmanship, as shown by the work
of the early artists, but with new grace and
freedom, due to personal “creative impulse,”’
must be the ideal which the future is to real-
ize. ‘To do this, the old Northern art must
be understood and honored. ‘The useful
art of its tradition must be taken as the
asis for the art of our day, born, not of mere
desire for profit by commercial enterprise,
but of an ideal to be realized, both by artist
and patron; and this has already begun.

If the present pages are somewhat severely
critical, this is inevitable from the fact that
the nineteenth century was an epoch when
work was done under great disadvantage.
It was not the fault of the artists, but due to
the circumstances under which they worked.
A long list of errors in theory or practice
might be made. Little is there of work to
stand critical attention. But it suffices to
show how all this was done, to make such
analysis unnecessary; let us look rather to
the present and the future.

RECAPITULATION

To take a bird’s-eye view of the whole
subject, we see in the dim past the anony-
mous monastic craftsman timidly dévelop-
ing glass from enamel. A few highly ap-
preciated works of small dimensions lead to
use on a larger scale in abbeys and cathe-
drals, made by men, mostly ecclesiastics, with
patient care but little graphic power, yet
with taste and close acquaintance with the
traditions of their craft.

Through a long series of works the art
evolves, aided “by the increasing scale and
number of windows. In the early thirteenth
century in France the art is transformed; in
arrangement and in drawing it enters a new
phase, though this is intimately connected
with the preceding twelfth century work.
But this phase, as examples multiply with
rapidity, grows less interesting, and from
i Then a
total transformation, in arrangement, design
and color, comes about and characterizes the
fourteenth century. This slowly merges
into the fifteenth, and at last in France we
find the light flamboyant glass, and in Eng-
land the abundant and somewhat mechan-
ical perpendicular, representing the last
phase of Gothic.

Upon the ground thus prepared we see—

NRF REIT”

THE AMERICAN ARCHITECT

first, an influence by the early Florentine
Renaissance in the central France, reacting
on the flamboyant glass with little harm.
This school dies out through the transfer-
ence of the art centre to the north, and a
similar evolution commencing there is inter-
rupted by the income of the decadent “Cin-
quecento” school at Fontainebleau which,
in the end, destroys French art by a dis-

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PORTION OF THE “BLACKBURN” WINDOW,

ALL SAINTS’ CHURCH, YORK
ENGLISH XV CENTURY, POOR DESIGN, GOOD TREATMENT

lacement of ideal. The art of glass paint-
ing, attenuated by the — in the fifth-
teenth century, was suddenly called upon
to adapt itself to ideals quite independent of
the art. After its artists had for a while met
the mew: demand, sacrificing time-honored
principles and practices to do so, in the end
the- wr -thing -was discarded under the
growing contempt of all that savored of “the
antiquated style” and of all that was in-

spired by the “vile artisan.” So, after a
lingering illness, glass painting died out in
France and only just existed at Oxford in a
feeble and artificial ‘way, though this is evi-
dence of its inherent vitality.

During these changes—covering the time
between the tenth and eighteenth centuries
—a gradual loss went on. Architectural
design, geometric composition, symbolic
drawing, color effect and richness of ma-
terial, gave place to a more imitative and
personal style which yet was based on a good
technique. This latter was lost as little by.
little an imitative, pictorial effect, inconsis-
tent with its inherent needs was sought for.
Finally, craftsmanship itself was despised
as the academic ideal of culture grew, and
the substitution of an exotic style led to a
final separation between the designer and
executant fatal both to the design and to the
execution. So all knowledge of craft and all
sense of design disappear.

The revival in the nineteenth century was
carried on with ignorance of much necessary
knowledge, and was handicapped by man-
ners and methods of work started during
the seventeenth and eighteenth centuries,
which were incompatible .with free. crafts-
manship.

Modern glass has felt the effect of all this
and it has shown necessarily every kind of
character possible.

Slowly the necessary knowledge has grown
and, with proper patronage and allowing for
continuous evolution, we may see the reali-
zation of new ideals growing out of the old
foundations, and works produced: equal to
those the past can show. ¢s

A RECENT LEGAL DECISION

CONTRACTOR WHO SUBSEQUENTLY BE-
COMES MEMBER OF CONTRACTING BOARD--
MAY ENFORCE CONTRACT

A party who furnishes labor and material
in the erection of a school house under a
contract with the contractor and subse-.
quently becomes a member of the school
board, is not thereby deprived of his
right to enforce his contract for the labor and
material furnished.

Goodrich v. Board of Education, New
York Supreme Court, Appellate Division,
122 N. Y¥. Supp., 50.

3

THE AMERICAN ARCHITECT

THE CURRENT ARCHITEC-
TURAL PRESS

HE principal subjects discussed and

illustrated in the May issue of The

Architectural Review, are ‘‘Modern

City Gates,” by Mr. Huger Elliott, and

the competitive drawings in the Competi-

tion for a Museum of Fine Arts for the City
of Minneapolis.

The article by Mr. Elliott on ‘Modern
City Gates” is a scholarly presentation of
the subject and may be read with profit.

The acceptance of Messrs. McKim, Mead
& White’s design as presented in this
number assures to the City of Minneapolis
a museum building that when completed
will rank among the best in its class in this
country.

(FROM THE WESTERN ARCHITECT)

DENVER GAS & ELECTRIC BUILDING (VIEW
AT NIGHT)

MR. F. EF. EDBROOKE, ARCHITECT

Other subjects illustrated are a country
house, Mr. C. K. Cummings, architect,
a brick school house in Cincinnati, by
Messrs. Garber & Woodward, and a coun-
try house not as reposeful in its general
appearance as most of the work of the
designers, Messrs. Chapman & Frazer.

The number is a particularly good one

4

(FROM THE ARCHITECTURAL RECORD

Re
cs

HOUSE OF R. J. COLLIER, WICKATUCK, N. J.
MR. JOHN RUSSELL POPE, ARCHITECT

both as to character of material selected
and the manner of its presentation.
Among the illustrations in the May
issue of The Brickbuilder are the Cit
Club, Chicago, Messrs. Pond & Pond,
architects, a somewhat anaemic design,
presenting in its general appearance remi-
niscence of varying types of buildings,

(FROM THE BRICKBUILDER)

2

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BSS ig Vout

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gee eRe

ENTRANCE DETAIL, APARTMENT HOUSE,
CHICAGO, ILL.
MESSRS, SPENCER & POWERS, ARCHITECTS

PRIEST

THE AMERICAN ARCHITECT

(FROM THE ARCHITECTURAL REVIEW)

a a awe aie

ACCEPTED DESIGN, MUSEUM OF FINE ARTS, MINNEAPOLIS, MINN.

MESSRS. MC KIM, MEAD & WHITE, ARCHITECTS

an interesting row of apartment houses
in Chicago, Messrs. Spencer & Powers,
architects, and country houses by Schmidt,

(FROM THE INTERNATIONAL STUDIO)

SAR S

y

= te
Pu NRE
}

OLD MOSCOW
BY APOLLINARIUS VASNETZOFF

Garden & Martin, Howard Van Doren
Shaw and Shepley, Rutan & Colledge.
In the text, Mr. C. Howard Walker

(FROM THE ARCHITECTURAL REVIEW)

® ed
so fs > ims

HOUSE AT READVILLE, MASS.
MR. C. K. CUMMINGS, ARCHITECT

*
$

continues his series on “Distinguished Ar-
chitecture as a Precedent,” as does also
Mr. H. Van Buren Magonigle his discus-
sion of “Commemorative Monuments.”
Specifications for a heating and ventilat-
ing system for an eight-room school build-

(FROM THE BRICKBUILDER)

CITY CLUB, CHICAGO, ILL.
MESSRS. POND & POND, ARCHITECTS

5

THE AMERICAN ARCHITECT

(FROM MODERNE BAUFORMEN)

i DETAIL OF A GARDEN, HAMBURG
MR. FRITZ SCHUMACHER, ARCHITECT

ing by Mr. Charles L. Hubbard, have
reference value.

Mr. Ripley’s serio-comic discussion en-
titled ‘“The Complete Angler,” is carried
as the leading article in this issue.

The leading article in The Architectural
Record for June,-entitled “The Farm House
de Luxe,” illustrates and describes the

+
(FROM MODERNE BAUFORMEN)

” i abd Me Aa +

i -GARDEN DETAIL
MR. FRITZ SCHUMACHER, ARCHITECT

-. 6

country seat of Mr. Robert J. Collier,
Wickatuck, N. J., designed by Mr. John
Russell Pope. Mr. Pope has been most
successful in his efforts, and the house,
improperly referred to as “de luxe’ is a
well restrained and dignified example of
a style that we would be glad to see more
generally adopted.

The English Colonial type of architec-
ture is typical of those sturdy character-
istics that were part of the personality of
the men and women who laid the founda-
tion of these United States. Their. well

(FROM MODERNE BAUFORMEN)

DETAIL OF A GARDEN, HAMBURG
MR. FRITZ SCHUMACHER, ARCHITECT

yoised character is well represented in
sonata of this period and we are inclined
to believe that a better adjective than the
French one used could be found to indicate
the reflection«of wealth and culture’ that
is presented:

Mr. Walter Bombe, in an article describ-

-ing the Davizzi-Davanzate Palace, -very

well illustrated, states with truth: *“Those*

who would~look~ for beauty. still clingmg~

to what the wreck of time has left of old
‘(Gontinued on page 8)

ee

THE AMERICAN ARCHITECT

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Entered at the Post-office, New York, as Second-class Matter

Vox. CII JULY 3, 1912 No. 1906

A THREATENED STEP BACKWARD
¥, is probably not strictly within the

province of a technical or class journal
to treat of political strife or of many
questions of public policy that absorb the
time and interests of those who are some-
times referred to as the representatives
of the people. Nevertheless, it seems per-
tinent to call attention to conditions as a
result of which the architectural. growth
and development of these United States
seem at times to be seriously menaced.
Many instances have occurred during the
past two or three years that indicate beyond
question the indifference of those in office
to what might be termed the art interests of
the country. For example, a well-organized
department of the national Government, a
department instituted to promote the artistic

‘betterment of public buildings, has been in-

vestigated, harassed and restricted for reasons
generally suspected to be political. Acts
placed on the statute books at the instiga-
tion of men who may be relied upon to
know and understand the country’s needs
and which have proven by years of success-
ful operation of immense benefit are now in
danger of annulment, for apparently much
the same reasons. The tenure of office
of men appointed to safeguard and provide
for our artistic well-being is made uncer-
tain, and their remuneration inadequate,
either through lack of appreciation on the

part of our “representatives” or a mistaken
purpose to economize,—a purpose, by the
way, not particularly noticeable in the ad-
ministration of, or appropriations made
for, the conduct of other Lecce.

Regrettable as it seems, the fact remains,
and it is no exaggeration to state that the
subject of our artistic advancement appears
to be one of absolute indifference to the
majority of men in public office. Under
present conditions the method of securing
satisfactory results most likely to succeed
is to combine proper plans for some public
improvement with an opportunity for po-
litical capital. The situation calls for the
attention of architects and those capable of
understanding the value of art as a national
asset. There is no middle ground. We
must go forward or we will inevitably go
backward. This is not a retrogressive age
in “‘practical pursuits” and it is not apparent
why it should be so in art. We do not
believe any retrograde movement will be
tolerated. It certainly will not if every
architect, every painter, and every sculptor
does his full duty in informing those about
him and making plain to them what such a
movement means.

We are beyond doubt a patient and long-
suffering people, but it is a question whether
we will always submit to having our #s-
thetic well-being made subservient to po-
litical exigencies. We believe the day will
come when it will be necessary to combine
with an aspiration for public office some
other qualifications than a demonstrated
ability to “deliver the votes.” When that
day arrives, it is not probable that we will
be threatened, as now, with legislation
conceded by practically everyone to be
inimical to the artistic development of the
country.

LENOX LIBRARY BUILDING CON-
TROVERSY A CLOSED INCIDENT

O say the least, some one has blun-
dered. It must be a matter of regret to
every self-respecting citizen that Mr.
Frick’s generous offer has had such shabby
treatment. Either through inadvertence,
or else wilful misrepresentation, it has been
made to appear that the acceptance of
the Lenox Library building was contingent
on its being placed on the Arsenal site

7

THE AMERICAN ARCHITECT

in Central Park. Apparently such was not
the case.

The net result of this wilfulness, ignorance
or incompetency is that the city is deprived
of a building that might very well have
been put to a good use, on some site easily
found, and that we have been placed in the
unfortunate position of having treated with
downright discourtesy a citizen who, in-
fluenced by the most generous motives,
has been classed by writers in’ the daily
press with that body of men who seem

determined to invade Central Park with
some sort of a building in order possibly
to establish a precedent for a greater en-
croachment.

It is regrettable that Mayor Gaynor
should be found apparently arrayed with
those who are, as we believe, in the minority
on this question.

His remark, as quoted in the daily press,
“that there would soon be a new building
on the Arsenal site,” does not agree wit
his usual attitude on civic questions.

CURRENT ARCHITECTURAL PRESS
(Continued from page 6)

houses must now betake themselves to
some one of the few remote corners of those
old cities where the destructive fury of the
demolishers’ pick—wielded in the name
of wrongly understood modernity, new
needs, ps | a new and barbaric taste—
has not yet fallen on those vestiges of the
past.”” ‘The subject selected by Mr. Bombe
is one that has survived the iconoclast, and
fortunately so. The article is of unusual
interest.

Continuing the series illustrating the
architectural growth of important cities
in the United States, we have in this issue
“The Transformation of Portland, Ore.,
From an Architectural and Social View-
sell by Mr. Herbert D. Croly. Mr.

obert C. Spencer, Jr., writes instructively
on building a house of modern cost. An
article by Mr. J. T. Tubby, Jr., on “Thrifty
Draughtsmanship,” treats of the economies
possible in that part of office practice
“‘which represents seventy-five per cent. of
the office cost.”” Mr. Embury’s series on
“Early American Churches’ is_interest-
ingly continued. Mr. W. Francklyn Paris
describes the Museum of French Art.
French Institute in the United States.

In illustrating in The Western Architect
for June the’ building of the Denver Gas
and Electric Light Co., Mr. F. E. Edbrooke,
architect, there are presented reproduc-
tions from two photographs taken from
the same point of view, showing the build-
ing by day and as illuminated at night.
The building, a ten-story structure, a
been treated with restraint in the design,
and the ornament wherever introduced,
either in the heavy cornice, the course at

8

the ninth floor level or the pattern in brick
as employed at every floor, has been pro-
vided with electric outlets. Judging from
the night view, the effect when illuminated
is attractive.

Other material presented in this issue
will be found in our usual index. The
text contains an appreciation of the life
and work of Mr. F. D. Millet, and a some-
what lengthy pronouncement by Mr. F. W.
Fitzpatrick treating of design.

Architecture for June illustrates a num-
ber of examples of recent shop front designs
in New York. Modern retailing methods
in our shopping district have demonstrated
the value YP an attractive exterior and, fol-
lowing the example of European cities,
merchants are seeking for the same origi-
nality in the design of their shop fronts
as competition has made necessary in their
wares. All this is to be much commended.
The designs, isolated, are in most instances
commendable, but are in some cases un-
fortunate as being out of harmony with
their environment.

An interesting country house, by Mr.
Frank Chouteau Brown, some designs and
plans for small country houses by Mr.
Aymar Embury II and Mr. Oswald C.
Hering, and a somewhat pretentious and
not altogether interesting country house,
Mr. Alfred Busselle, architect, are also to
be found in this issue.

The text contains an article on “The
Necessity for Special Preparation for the
Practice of Landscape Architecture,” by
Mr. Charles W. Leavitt.

We reproduce from the May issue of
our German contemporary Moderne Baue
formen views of gardens desi ned by Mr.
Fritz Schumacher, of Hamburg.

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DETROIT, MICH.

Mr. ALBERT KAHN, Architect

Mr. ERNEST WILBY, Associate

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PALAZZO DEI TRIBUNALI, MANTUA, ITALY (1492-1576)